It looks as if 2018 is going to suck again as it’s my sad duty to announce the passing of former Lynyrd Skynyrd guitarist Ed King. Ed passed away from lung cancer at his home in Nashville, Tennessee. He was 68. Ed joined Skynyrd from when his original band, Strawberry Alarm Clock opened for them in 1972. Originally, he joined as a temporary replacement for bassist Leon Wilkeson but was added as a third guitarist later. He co-wrote the famous Lynyrd Skynyrd hit, “Sweet Home Alabama.” Another tragic loss to the music industry during three years of tragic losses. I hope you will all join me in offering my condolences to Ed’s family.
In my last few posts, I have recollected how back in 1985, I thought several great rockers from the 1970s had sold out and gone too commercial only to realize that I was wrong when finally getting around to listening to their album. However, I never said this about guitar god Eric Clapton when his “Behind the Sun” album came out in the same year. Ironically, all the music critics at the time said he did exactly that, citing his collaboration with Phil Collins on the album. One said that Eric was in danger of turning his back on his faithful following and liable to end up playing his greatest hits on the Vegas circuit. What do critics know?
It was on tour for this album when I finally got to see Eric Clapton in his full glory in concert. I do make a passing comment about it in “Rock And Roll Children.” Memories from that piece of history have brought up two items from that night. One, Eric did play a lot of his greatest hits that evening but he did play some from the album too. The other and I think this might be down to management, his two female backing singers were dressed kind of new wave but that didn’t affect his brilliant music played that evening. If anything, I thought the biggest act of sacrilege from the show was that he let the rhythm guitarist play a solo on “Cocaine.”
If Eric Clapton sounds new wave or too commercial on the “Behind the Sun” album, I sure as hell don’t hear any evidence of it. To me, this was Eric Clapton at his usual best. Even looking at the two singles released from the album, “She’s Waiting” and “Forever Man” do not give me any thought that he was trying to go too commercial 80s here. “She’s Waiting” is everything I had always remembered and liked about his music and “Forever Man” reminds me of his great hit with Derek and the Dominoes, “Layla.” So again, I shoot down the accusation that Eric was trying to sound too commercial. One song that totally refutes that claim is my vote for hidden gem, “Same Old Blues.” Here, he shows how he got the nickname ‘Slow Hand’ as he solos all through the song, classic blues guitar at its very best.
Some my counter claim by citing his cover of the 1979 disco hit by one hit wonder Amii Stewart, “Knock on Wood.” Clapton’s version of this song sounds nothing like the original disco tune. He puts his own spin on the song, that’s a certainty. If there’s any variation from traditional Clapton, it has to be with “See What Love Can Do” which sound rather calypso but it’s played very well with a classic Clapton guitar solo it. In fact, what I love about the album is the fact that he solos his way all the way through it and that’s what I have always liked about him. He is truly a guitar god.
Amii Stewart
Track Listing:
She’s Waiting
See What Love Can Do
Same Old Blues
Knock On Wood
Something’s Happening
Forever Man
It All Depends
Tangled In Love
Never Make You Cry
Just Like a Prisoner
Behind the Sun
Eric Clapton
Eric Clapton- lead guitar, lead vocals
Phil Collins- drums (tracks 1,3,4,9,10), shaker (tracks 7 & 9)
Donald Dunn (From the Blues Brothers)- bass (tracks 1,3,4, 7-10)
Jamie Oldake- drums (tracks 1,3,4, 7-10)
Chris Stainton- synthesizers, organ, piano (tracks 1,3,4, 7-10)
Marcy Levy- backing vocals (tracks 1-3 and 6-9)
Lyndsey Buckingham- rhythm guitar (track 5)
James Newton Howard- synthesizer (track 5)
Jerry Lynn Williams- backing vocals (tracks 2 & 5)
Lenny Castro- congas, percussion (tracks 2 & 6)
Ray Cooper- percussion, gong, bongos (tracks 1,3,7,8)
When “Behind the Sun” came to my attention, I was glad that a classic album from a great musician was able to fill the gap in what was a few metal starved months for me. This album was never too 80s pop in my view, it just cooks.
Next post: Lone Justice
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Here’s another example of how I was so focused on heavy metal in early 1985 that I didn’t fully appreciate a good non-metal album. I have to admit, back then I didn’t have much experience of the legend that is Van Morrison. My most memorable experience of him was his performance in the film, “The Last Waltz” where he sang with The Band. Other than that, what I knew of him was virtually zero.
While by 1985, I had become totally fed up with commercial radio, I have to thank it for this one. The single from the 1985 album, “A Sense of Wonder,” “Tore Down a la Rimbaud” got a considerable amount of airplay in the early part of the year. It was only after a few listens that I got past my “it’s not metal” mentality and realized that “Hey, this song is pretty good.” However, for some reason, I never bought the album, which was a bit of a shame because I missed out on a good one.
Wikapedia puts Van’s “A Sense of Wonder” album in the category of Celtic Soul. Well the man is from Northern Ireland and he does put his soul into the album so it’s hard to disagree with that label. Back then, I would have put it into either or both of the categories of soft rock or mellow out rock. It covers both. While the deafening power chords I was so into in 1985 and still am today are absent, one can’t fault the quality of the musicianship on it. Here’s another myth I believed about Van which this album has obliterated. I thought that he only sang because that’s what he did in “The Last Waltz.” But he plays guitar and piano and rather well judging from the instrumentals “Evening Meditation” and “Boffyflow and Spike,” the latter sounding like true Irish folk music.
While the single remains my favourite song on the album, the rest of the album keeps up as well. In my opinion, “Ancient of Days” could have been released as a single too because it’s almost as good. After the first mentioned instrumental, he goes very almost gospel soul softer though I think the title track goes on a bit too long for me. The second instrumental does pick things up a pace after and “If You Only Knew” keeps that pace going with “A New Kind of Man” closing the album out with a good feeling.
Track Listing:
Tore Down a la Rimbaud
Ancient of Days
Evening Meditation
The Master’s Eyes
What Would I Do
A Sense of Wonder
Boffyflow and Spike
If You Only Knew
Let the Slave (Incorporating the Price of Experience)
A New Kind of Man
Van Morrison
Van Morrison- vocals, guitar and piano
John Allair- organ
Bob Doll- trumpet
Tom Donlinger- drums
Pee Wee Ellis- tenor saxophone
David Hayes- bass
Chris Michie- guitar
Pauline Lazano- backing vocals
Bianca Thornton- backing vocals
The group Moving Hearts performs on tracks 6 and 7
I’m now a believer. Again, it could be me mellowing a tiny bit with age but I now appreciate how good the “A Sense of Wonder” album from Van Morrison really is. Perhaps I should delve into his discography a little more.
Next post: Tom Petty and the Heartbreakers- Southern Accents
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The more I think about it, the more convinced I am that I was not as musically open minded as I thought I was in the early part of 1985. While I make no justification for this, I do think the reason might have been that I was in longing after the wave of heavy metal that was played on commercial radio throughout 1984 became non existent in the early part of the following year. That was probably why I poo-pooed the “Building the Perfect Beast” album from Don Henley. Being honest, I was in Eagles mode (even though they had split up five years earlier) with not just Don but all former members of this iconic band. I expected all of their solo material to resemble the classic “Hotel California” and the singles from this album didn’t do that. So, I ignored it until a friend lent it to me and I had a listen. Then I realized what I fool I had been.
Sure, the big single “The Boys of Summer” doesn’t sound like “Hotel California” but the musicianship on the song is simply fabulous. There is some great guitar work from Tom Petty and the Heartbreakers guitarist Mike Campbell and Don’s voice is clean on this and all of the tracks. I have really come to like this track in my later years.
Upon further reflection back to 1985, I think that I put music into categories of heavy metal and synth pop. “Building the Perfect Beast” not being metal, I put it into the other category. Again I say “Fool!” at least to myself anyway. There is absolutely nothing synth pop about this album. If anything, there are tracks that take me back to The Eagles more country rock sound from the early 1970s. Tracks that bear evidence to this are the fast paced “Man With a Mission” and my vote for hidden gem, “You’re Not Drinking Enough.” For some reason, that track reminds me of the Eagles’ classic, “Take Me to the Limit.” But it does say “Early Eagles” all through the song. Thinking back to early 85, at the time I was dating a woman who had a drinking problem and now I’m linking this song with that. “Not Enough Love in the World” is another example of what I am trying to talk about. In fact this track would have fitted perfectly on the Eagles’ “Long Road From Eden” album.
One reason for why this album sounds as good as it does is that Don got a load of well known singers and musicians to guest on it. While you know it is definitely Don Henley on every track, these guests, have a look below to see who, add to the quality of the album for sure.
Track Listing:
The Boys of Summer
You Can’t Make Love
Man With a Mission
You’re Not Drinking Enough
Not Enough Love in the World
Building the Perfect Beast
All She Wants to Do is Dance
A Month of Sundays
Sunset Grill
Drivin’ With Your Eyes Closed
Land of the Living
Don Henley
Don Henley- lead vocals, percussion (tracks 5,6,9), drums (tracks 2-4,7), keyboards (track 6)
Danny ‘Kootch’ Kortchmar- guitars, organ (4), synthesizers (tracks 1,3,6), percussion (tracks 6,9,10), keyboards (9), synthesizer guitar and horn solos (8), ormichard (4), horns (3)
Michael O’Donahue, Waddy Watchel, JD Souther, Carla Olson- track 6
Patty Smyth- track 6, 8-10
Martha Davis- tracks 6&7
Marie Pascale Elfman, Dominique Manicelli- track 9
Sam Moore- track 4
Brian Dear, I owe you a thanks for giving me this classic Don Henley album to listen to. Otherwise, I would have been enslaved to my ignorance that “Building the Perfect Beast” was another 80s synth pop album. It is clearly not and full marks to Don for it.
Next post: The Wrestling Album
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A band that caught mine and many other people’s attention was Giuffria with their self titled debut album. The band was originally formed as a side project by keyboards player Greg Giuffria after he left his former band Angel. A band I had heard great things about back in the day but never got around to listening to. Back to Giuffria, their first single, “Call to the Heart” did get a lot of airplay and according to recorded history, number fifteen in the charts. It was one of those ballads that the ladies seemed to really like but it had some good progressive rock hooks as well as a guitar solo to grab the attention of men. If I’m honest, I liked the song but it really wasn’t heavy enough for me.
Everything that Giuffria was capable of doing can be found in the opening track of the album, “Do Me Right.” It starts with some classic 1970s sounding progressive rock via a great keyboard intro. Then the song carries on with some great vocals backed up by a more than capable rhythm section before guitarist Craig Goldy hammers out his best solo on the album. It’s definitely my favourite track.
The two hardest tracks on the album are “Don’t Tear Me Down” and “Dance” and it is probably a good thing that those two songs were back to back after the forementioned ballad. It proved to doubters that they could rock as much as anyone. Things go slightly softer and more melodic, bordering on commercial after that with the remainder of the songs, “Turn Me On” being the harder rocking exception. Goldy and Giuffria really cook with guitar and keyboard on that one. “The Awakening” is rather amusing, with the children’s choir and keyboards giving it that Saturday horror film feel. Saying that, the talent of this band pulls up the quality of each song making them more enjoyable.
No matter what you think of the songs, you can’t deny that this was one talented band. David Glen Eisley had a voice that was as good as many lead singers in that day. The keyboard skills of Greg Giuffria show themselves in every song. Chuck Wright and Alan Krigger are very good rhythm section and as for the guitarist, Craig Goldy, his playing on the album leaves me to conclude that it was no wonder why he was head hunted to join Dio a year later.
Track Listing:
Do Me Right
Call to the Heart
Don’t Tear Me Down
Dance
Lonely in Love
Trouble Again
Turn Me On
Line of Fire
The Awakening
Out of the Blue
Giuffira
David Glen Eisley- lead vocals, keyboards, harmonica
Greg Giuffria- keyboards, backing vocals
Craig Goldy- guitar
Chuck Wright- bass, backing vocals
Alan Krigger- drums, percussion
While doing a bit of research for the post, I had one rumour from 1985 quashed. In said year, Giuffria went on tour supporting legends Deep Purple. The rumour was that Purple kicked them off the tour because Giuffria was blowing them away every night. I have always found that hard to believe, especially as I saw Deep Purple in this year and they were superb. From what I’ve read, Ritchie Blackmore was a bit of an a””hole towards the band. He cut their stage time from 45 minutes nearly in half to 25, forbade them to play any guitar solos and they had to play with the arena lights on. Therefore, they left the tour on their own accord and I don’t blame them. While I missed my chance to see them live, this album is a good fall back.
Next post: Don Henley- Building the Perfect Beast
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When I begin a new year of my trip through the golden decade of heavy metal, I always start with albums that were made in the previous year but didn’t come to my attention until the said year. Because there were so many great albums in 1984, I didn’t get around to listening to a good number until 1985. One of these was “The Allnighter” from the late former Eagles guitarist/singer, Glenn Frey.
Reflecting back to early 1985, I used to wonder if I was a little unfair to both Glenn and one of his former bandmates who also released a solo album in this year. First, I was very much into all things metal and “The Allnighter” is definitely not metal. Furthermore, I was very much into the last two Eagles albums, “Hotel California” and “The Long Run” which did feature some harder rock than their early 1970s albums.
Glenn goes further away from his Eagles roots with this album as it’s a more mellower and somewhat bluesier sound. There are some ballads on here like “Let’s Go Home” and “Lover’s Moon.” Glenn’s voice has always been suited to these but it is also versatile enough for the faster songs. “Sexy Girl” is kind of in the middle here and he does sing it well. I recently heard a live version of it and it sounds better than the commercial version. However, the best song and one that I’ve come to appreciate far more in my aging years is “Smuggler’s Blues.” This song is proof that Frey can sing harder stuff, not that I had any doubt he couldn’t. What has really impressed me about it is the musicianship. Like his previous album, Glenn uses a ton of musicians on it, so I don’t know who does the guitar solos on the song but they are ace. Full marks to whoever played them. The song did feature on the mid 1980s TV show “Miami Vice.”
Track Listing:
The Allnighter
Sexy Girl
I Got Love
Somebody Else
Lover’s Moon
Smuggler’s Blues
Let’s Go Home
Better in the USA
Living In Darkness
New Love
Glenn Frey
Glenn Frey- lead vocals, guitar, bass, drums, piano, synthesizer
Josh Leo, Duncan Cameron- guitar
John ‘JR’ Robinson, Michael Huey, Larry Londin- drums
David Hood, Bryan Garofalo- bass
Greg Smith, Willie Bergman, Al Garth- saxophone
Vince Melamed, Allen Blazek, Barry Beckett- piano
Barry Beckett, David ‘Hawk’ Wollinski- synthesizer
Nick DeCaro- strings
Steve Foreman- percussion
Victor Feldman, Jack Tempchin, Oren Waters, Jack Galloway, Luke Waters- backing vocals
I might have mellowed a bit with age and while I like some of what’s on “The Allnighter,” it really isn’t my cup of tea. There are some good songs on it and it’s a great album to mellow out to or provide suitable background settings but I won’t put away my metal albums in favour of it.
Next post: I know I said at the beginning of the post that I’ll be starting with albums that came out originally in 1984 but I have to make an exception. Download is this weekend and I need the correct inspiration.
Kreator- Endless Pain
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I’ve said on many a post that I’m a sucker for a good power ballad and there have been many on the hundreds of albums I have posted about so far. Therefore, I thought it would be nice, before I take the tour into 1985, that I share my top 30 power ballads, ten at a time. Originally, there was only going to be 20 but there are so many good ones out there that I had to extend it by another ten.
Google defines a power ballad by being an emotional rock song, generally focused on love with strong vocals. That is only half of my definition of the term. For me, a power ballad consists of either good power chords on the electric guitar or a blistering guitar solo, preferably both. That is why I get annoyed at supposed power ballad compilation albums. Sorry, as much as I love, “I Want to Know What Love Is” by Foreigner, it doesn’t match my definition.
The problem many people have with them is the fact that they cross over into forbidden territories. Many metalheads consider them too soft for metal, while more trendy music listeners are put off by the power chords. I can’t see why we can’t have both, especially when they’re done well. Besides, while they won’t admit, many male metalheads keep power ballads on hand when they want to show their ladies their more ‘intimate’ side.
Okay, I’ll stop rambling now and give you 80smetalman’s top power ballads, 21-30.
30. Hanoi Rocks- Million Miles Away
29. Gotthard- Still I Belong to You
28. Jefferson Starship- Fading Lady Light
Note: This was the first power ballad fitting my definition that I ever heard
27. LA Guns- Ballad of Jane
26. Motley Crue- Home Sweet Home
25. Nazereth- Love Hurts
This was the second power ballad I heard. I didn’t hear it until 1981, otherwise it would have been the first.
24. The Scorpions- Winds of Change
23. Anthrax- Nice F*ckin’ Ballad
I know Anthrax were taking to piss here but it still a cool power ballad.
22. Crystal Ball- Silence of the Night
21. Guns N Roses- November Rain
There you have it! The first ten power ballads on the list. Have a listen, sit back, mellow out and enjoy the guitar solos.
Next post: 11-20
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